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www.anexact.orgWed, 31 Dec 2014 00:38:13 +0000http://www.anexact.orgen> For a Minor Ornithologyhttp://anexact.org/For-a-Minor-Ornithology
http://anexact.org/following/anexact.org/For-a-Minor-OrnithologyWed, 31 Dec 2014 00:38:13 +0000www.anexact.org6490711<img src="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_854.png" data-mid="49135423" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_854.png" />>> For a Minor Ornithology
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 1.49.31 PM.png" width="670" height="457" width_o="980" height_o="669" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 1.49.31 PM_o.png" data-mid="37697906" border="0" align="left" data-title="670 — 670 × 457"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 1.49.31 PM_o.png" />
As part of the 15th Jakarta Biennale: Siasat, we curated the performance and installation piece For a Minor Ornithology at the Pasar Burumg Pramuka in Jakarta, Indonesia. Accompanying the performances are a series of diagrams designed in association with Jono Sturt of HTCHBCK (below), and an essay written with curator Anna-Sophie Springer. This essay, “Some Notes For a Minor Ornithology,” considers the remarkable role of avifauna in the history of European scientific experiments, public museum displays, and taxidermy practices. This essay is available as a free pdf here, or you can read it on the page below. An interview about the project from the Biennale is also available here.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white_o.png" data-mid="37788528" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white_o.png" />Video Documentation
Video courtesy of the 15th Jakarta Biennale.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white_o.png" data-mid="37788528" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/ANEXACT_white_o.png" />Essay
This essay anticipates the larger exhibition – 125,660 Specimens of Natural History – co-curated with Anna-Sophie Springer (K. Verlag), in collaboration with Komunitas Salihara in Jakarta. The exhibition will open in August 2015.
Some Notes for a Minor Ornithology
by Anna-Sophie Springer & Etienne Turpin
Aunt Frances said, /
“Don’t let the other /
Little boys kill the little birds.” /
I said, “They will, though.”
— Jimmie Durham, Frances Lasco
(from Poems That Do Not Go Together)
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In the biblical story of the Great Flood, it is a bird that acts as a messenger for Noah to learn about the possibility of new land existing for all the other species. In Papuan mythology, a magical bird is said to have revived a shipwrecked fisher who would then become the first ancestor of a newly emerging native island tribe, the Asmat people. Ancient creation myths like these illustrate the fascination and deep identification with birds that humans have shared for thousands of years. By comparison, the scientific discipline of modern, professional ornithology is a relatively young field. As a sub-discipline of zoology, ornithology is historically concerned with issues such as the classification and taxonomy of bird species, their evolution, geographical and ecological distribution, behavioral characteristics as well as conservation. With the Renaissance scholar Ulisse Aldrovandi’s Ornithologiae (1599) as an early point of reference and the “Robo Raven”—a light-weight surveillance robot engineered to replicate the complexities of bird flight—as one of the latest technological iterations, it is clear that the systematic study of birds is entangled with processes of scientific, institutional, and epistemological development.
In the history of museums and their predecessors, cabinets of curiosity, it also becomes clear that ethnographic institutions are not the only European collections saturated with colonial legacies. As sites of collection, research, and display of exotic species, natural history museums are also entangled with violent expansionist histories and reckless environmental attitudes. The project of a minor ornithology is therefore connected to the scientific ambitions of zoology as well as the museological organization of natural history.
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Minor ornithology is immediately linked to experimental, local and critical forms of knowledge production. Philosophically, it is inspired by the concept of “minor science” which was produced by the French philosophers Gilles Deleuze and Félix Guattari. Pragmatically, it highlights the importance of the seemingly less significant, smaller, or oblique events that are necessary in the course of establishing anything like a science of zoology. Instead of concerning itself exclusively with the study of birds as zoological objects, minor ornithology is interested in how human relationships with avifauna––in the words of the major taxonomist Linnaeus, this beautiful and cheerful portion of created nature––evince cultural preoccupations, estimations of nature, and the enduring legacy of colonialism.
In their book A Thousand Plateaus (1980) Deleuze and Guattari describe two kinds of science, which they call major (or royal) and minor science. Whereas the former aims for a sense of truth and order by operating through axioms, categories, and the means of representation, the latter is attentive to experimentation and variation. Yet, even with these key differences, major and minor science cannot be understood in terms of binary oppositions. Major and minor science do not exclude each other; instead, they are comparable to various tonalities of song, where the result is a different quality or kind of sound. For Deleuze and Guattari, relationships between major and minor practices are characterized by the ongoing tension between capture and flight. Through its ability to revel in the ambiguous, the unsolved, and the not-yet established, minor science opens up a space for new questions, which major science can then “re-capture” within its own expanded field.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.27.47 AM.png" width="670" height="434" width_o="1314" height_o="853" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.27.47 AM_o.png" data-mid="37692062" border="0" align="left" data-title="670 — 670 × 434"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.27.47 AM_o.png" />
Events in minor science often act as a sort of precondition for progress in the realm of major science. Regarding the establishment of the natural history museum (often literally the site of Royal Science) with its thorough taxonomies, descriptions, and displays, one such decisive laboratory event was the discovery of arsenical soap as a reliable preservative for bird taxidermy. Although illustrations of early museum halls filled with impressive specimens might paint more flattering pictures, for centuries bird collections had remained ephemeral and fragmentary. Until taxidermy was finally perfected as a technique, the dead specimens would continue to decay, or fall prey to insect infestations, troubling the seemingly impossible project of maintaining a natural history museum. It was precisely the finally stabilized specimens and quickly expanding collections of inanimate bird-objects of the late eighteenth and nineteenth century which gave ornithologists a crucial push towards publishing extensive knowledge about the world of birds.
The bird market Pasar Burung Pramuka in Jakarta is a locale for the exploration of minor ornithology today. The three visits to the bird market and the performances there which constitute the site of For a Minor Ornithology are framed by a triptych of historical case studies from the intertwined realms of early natural science, museum culture, and colonial collecting. All three are represented in diagrams of knowledge and show the ambivalence between minor and major science––each time as performed through the violent interaction of men with birds—whether through questions of evidence, display, or collection. In each case, the diagram attempts to perform the ambivalence of the practice under consideration by suggesting a ratio of capture and flight. As minor experimentations become major normative assumptions, we discover the strange, contingent unfolding of the will to knowledge.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/JLM-1822-Charles-Peale-Artist-in-His-Museum.jpg" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/JLM-1822-Charles-Peale-Artist-in-His-Museum_o.jpg" data-mid="37691996" border="0" align="left" data-title="670 — 670 × 502"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/JLM-1822-Charles-Peale-Artist-in-His-Museum_o.jpg" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.31 AM.png" width="670" height="460" width_o="1140" height_o="784" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.31 AM_o.png" data-mid="37691142" border="0" align="left" data-title="670 — 670 × 460"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.31 AM_o.png" />
Carolus Linnaeus (1707–1778) attempted to create rules for the classification of nature. With his Species Plantarum (1753) and Systema Naturae (10th Edition, 1758), Linnaeus’s binomials (names for species) and generic names created the foundation for biological nomenclature codes. Linnaean taxonomy is based on a system of class and genus, which form the principles of a universal order. The museum of the American artist and naturalist Charles Willson Peale (1741–1827) was one of the first institutions of its kind to present its collection according to the Linnaean taxonomic system. The collection, which combined Peale’s interests in natural history and aesthetics, included his grid of display cases filled with taxidermied birds, of which Peale is said to have collected over 1,800 specimens. The walls of the Long Room in his Philadelphia museum exhibit the animals in front of painted backgrounds of natural landscapes, which is one of the earliest examples of the habitat diorama. Peale wrote lectures and essays, in which he would single out specimens for anthropomorphic character studies. The behavior of animals such as the eagle, the woodpecker or the swan, he believed, could be interpreted in order to draw analogies for an ideal human society. Despite his efforts to use these innovative ideas to educate the public about issues of both natural science and political organization, the Peale museum failed to obtain government funding and, following Peale’s death, the collection was divided and sold to the American entertainer Phineas Taylor Barnum. In the miniature mode of the museum, the display was an ordering and ranking of nature, meant to instruct the public on the correct hierarchy of animals and humans.
It is in the early laboratory of Robert Boyle (1627–1691) that we discover, almost one hundred years before Linnaeus, the first apparatus of “big science”—an air pump whose construction was described in detail in his New Experiments Physico-Mechanical (1660). The pump, also known as a machina Boyleana or a “pneumatical engine,” was the central device around which Boyle constructed his argument for natural philosophical knowledge to be gained by experimentally produced matters of fact. By performing his experiments in the public forum of the Royal Society where they were witnessed by esteemed guests and other scientists, Boyle used the pump to generate knowledge through experimentation, but, more importantly, to change the terms by which knowledge was considered knowledge. In Experiment No. 41, Boyle used his pump to create evidence for his claim that voids exist within the material reality of air.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.29.34 AM.png" width="670" height="387" width_o="1127" height_o="652" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.29.34 AM_o.png" data-mid="37692108" border="0" align="left" data-title="670 — 670 × 387"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.29.34 AM_o.png" />
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In Boyle’s quest for an empirical proof of airless space, a gradually suffocated bird––the creature of air par excellence––pays with its life while giving birth to evidence-based modern science. By placing a bird within his “pneumatical engine,” Boyle could vividly demonstrate the effects of the void on a living creature. As the bird began to asphyxiate, the audience witnessed the real cost of deprivation of vital air; although some still refused his explanation, the violent death of a bird in the glass chamber was said to be “ostensive” because it proved to the witnesses the fact that a void could be created by actively depleting the vitality of the air itself. In this relationship of knowledge and violence, the bird is the dramatic actor that performs through its death the production of modern science.
Between 1854 and 1862 the British naturalist, Alfred Russel Wallace, explored the Southeast Asian Malay Archipelago, ardently documenting the region’s geography and biodiversity while amassing a gigantic collection of specimens for museums in England. Chronicled with great meticulousness, his field work, findings and personal experiences are recorded in the book The Malay Archipelago: The land of the orang-utan, and the bird of paradise—A narrative of travel, with sketches of man and nature, published in 1869 after Wallace’s return to England. While the orang utans are discussed towards the beginning of the book, towards its end, the narration culminates with vivid descriptions of the different types of birds of paradise, which Wallace managed to observe and collect on various islands. Throughout the first 300 pages of his book, the killing of creatures to produce a collection of more than 100,000 specimens generally caused Wallace hardly any pause for reflection or regret; however, his live encounter with the mythical birds of paradise provoked a decisive exception. It was these birds’ exquisite beauty, along with the rare observation of them in their remote environment, that poignantly revealed to Wallace the future tragedy of a colonial expansionism annihilating previously untouched nature.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.21.01 PM.png" width="670" height="385" width_o="1482" height_o="852" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.21.01 PM_o.png" data-mid="37697909" border="0" align="left" data-title="670 — 670 × 385"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.21.01 PM_2x.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.28.06 AM.png" width="670" height="441" width_o="1300" height_o="857" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.28.06 AM_o.png" data-mid="37692081" border="0" align="left" data-title="670 — 670 × 441"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.28.06 AM_o.png" />
While the birds’ existence was known in Europe at least since the Renaissance, they were mostly delivered in the form of lifeless skins; legend had it that they lived in the sky and never landed on earth except to die. In contrast to scientific predecessors such as Linnaeus, Wallace proudly proclaimed himself the first Englishman to ever see birds of paradise alive in their terrestrial habitats. He even succeeded, against all odds, in transporting two living birds to London and estimated that, for the admiration of their spectators, the species could flourish in domestic aviaries at the Crystal Palace or Kew Gardens. Paradoxically, it is the sublime experience of beholding their natural beauty in the wild that inspires Wallace to possess a remarkable foresight of the human inflicted “death of nature,” albeit narrated in the chauvinist colonial jargon of his time:
I thought of the long ages of the past, during which the successive generations of this little creature had run their course – year by year being born, and living and dying amid these dark and gloomy woods with no intelligent eye to gaze upon their loveliness; to all appearance such a wanton waste of beauty. Such ideas excite a feeling of melancholy. It seems sad that on the one hand such exquisite creatures should live out their lives and exhibit their charms only in these wild, inhospitable regions, doomed for ages yet to come to hopeless barbarism; while on the other hand, should civilized man ever reach these distant lands, and bring moral, intellectual and physical light into the recesses of these virgin forests, we may be sure that he will so disturb the nicely-balanced relations of organic and inorganic nature as to cause the disappearance, and finally the extinction, of these very beings whose wonderful structure and beauty he alone is fitted to appreciate and enjoy. This consideration must surely tell us that all living things were not made for man. Many of them have no relation to him. The cycle of their existence has gone on independently from his, and is disturbed or broken by every advance in man’s intellectual development; and their happiness and enjoyments, their loves and hates, their struggles for existence, their vigorous life and early death, would seem to be immediately related to their own well-being and perpetuation alone, limited only by the equal well-being and perpetuation of the numberless other organisms with which each is more or less intimately connected.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.31.24 AM.png" width="670" height="470" width_o="963" height_o="676" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.31.24 AM_o.png" data-mid="37692132" border="0" align="left" data-title="670 — 670 × 470"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.31.24 AM_o.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.58 AM.png" width="670" height="460" width_o="1140" height_o="784" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.58 AM_o.png" data-mid="37691146" border="0" align="left" data-title="670 — 670 × 460"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 9.31.58 AM_o.png" />
After Wallace had already killed and preserved thousands of other animals during his exploration, it is the encounter with a little dead bird—this “perfect little organism” which stirs an intense and conflicted reflection. Aware of the historic significance of the moment (before him the Frenchman René Primevère Lesson was the only other European to ever have seen the birds of paradise in their natural environment), Wallace is shaken by his responsibility as an expansionist agent at the Eastern edge of Western colonization. His response articulates a tension between, on the one hand, his nineteenth-century conceptions of European cultural superiority and, on the other, concern about violent interference and inevitable destruction. His assumption that nature left in a wild state was a “waste of beauty” tellingly ignores the existence of native skills, knowledge, and cultural appreciation of the birds by local communities.
Traditionally referred to by the Malay as Manuk dewata (“God’s birds”), it is thus their second, and later, Malay appellation, Burung mati (“dead birds”) that expresses the cruel irony of their fate as mascots for the expulsion from paradise. No doubt, human activities including a fanatical consumption of fossil fuels, industrialized agriculture, bioengineering, resource extraction, global waste management, and pollution have violently disturbed Wallace’s “nicely balanced relations of organic and inorganic nature.” Yet, only a few decades after Wallace left Asia, the hunting and trade of birds of paradise saw export numbers reach annual highs of up to 80,000 skins and caused a far reaching conflict among the colonial authorities that lasted for forty years and ended with a prohibition on killing the birds in 1931. Echoing Wallace’s initial revelation, towards the end of the official colonial occupation, the debates over the preservation of habitats for the birds of paradise are also said to mark the start of environmental politics in Indonesia.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.36.48 AM.png" width="670" height="304" width_o="1561" height_o="709" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.36.48 AM_o.png" data-mid="37692235" border="0" align="left" data-title="670 — 670 × 304"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 10.36.48 AM_2x.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-11-12 at 6.11.34 PM.png" width="670" height="406" width_o="1132" height_o="686" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-11-12 at 6.11.34 PM_o.png" data-mid="37697919" border="0" align="left" data-title="670 — 670 × 406"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-11-12 at 6.11.34 PM_o.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.16.33 PM.png" width="670" height="386" width_o="807" height_o="466" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.16.33 PM_o.png" data-mid="37697927" border="0" align="left" data-title="670 — 670 × 386"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.16.33 PM_o.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.07.01 PM.png" width="670" height="383" width_o="1101" height_o="631" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.07.01 PM_o.png" data-mid="37697931" border="0" align="left" data-title="670 — 670 × 383"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.07.01 PM_o.png" />
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.13.58 PM.png" width="670" height="417" width_o="978" height_o="610" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.13.58 PM_o.png" data-mid="37697933" border="0" align="left" data-title="670 — 670 × 417"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.13.58 PM_o.png" />
With some of these ideas as the framework for the tours and performances, in Pasar Burung Pramuka we want to explore questions of minor knowledge, experimental understanding, and local practices. We are not interested in creating identities for local sellers and buyers. Instead, we will have conversations about how they understand their practice, what strategies they deploy, what politics they conceive of, etc. We have asked the local sellers and buyers how they envision their practices, and if they would perform with us, as visitors, the production of minor ornithology. Are these practices similar to, or different from, colonial practices? Is there a continuity between the colonial and postcolonial treatment of animals? Of nature? Of song? Of confinement? Does the caged bird sing differently after Independence? Or, do human ears hear it differently? We don’t know; these are questions that don’t have obvious answers. This is why we make and curate art—to find ways of approaching history, and ways of learning to talk and share stories that connect us to the violence of our past as well as the potential of our future. But, to consider both of these temporalities, we must also be present. So, a slow visit, with a series of performances and conversations that meander through the market, is a way for us to become present and attentive to these superimposed realities. We need to be among the creatures of the world to begin to understand both our shared captivity and our asymmetrical coercion. As Deleuze and Guattari suggested, “it is when she is held prisoner that she emits the particles of a bird.”
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.20.22 PM.png" width="670" height="818" width_o="740" height_o="904" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.20.22 PM_o.png" data-mid="37697936" border="0" align="left" data-title="670 — 670 × 818"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/Screen Shot 2013-12-28 at 2.20.22 PM_o.png" />
With this project, we are interested in how the local knowledge of birds, rare species, breeding, bird-cage making, etc., all offer singular insights into the legacy of the colonial aviary, suggesting the importance of forms of localized knowledge, commercial production, craft and tradition that variously compliment, divert, and distort colonial practices. Our research into the three conceptual characters—Robert Boyle, Charles Willson Peale, and Alfred R. Wallace—provides a historical and conceptual framework for approaching the contemporary space of the market; however, the visual and sonorous exuberance of Pasar Burung Pramuka provokes our thinking of the present. X
For higher resolution diagrams, please download the essay here.
An interview about the project can be downloaded here.
<img src="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_854.png" data-mid="49135423" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490711/_-ANEXACT_white2_854.png" />>> For a Minor Ornithology As part of the 15th Jakarta Biennale: Siasat, we curated the performance and installation piece For a Minor Ornithology at the Pasar...> Data Made Me Do Ithttp://anexact.org/Data-Made-Me-Do-It
http://anexact.org/following/anexact.org/Data-Made-Me-Do-ItMon, 29 Dec 2014 12:43:58 +0000www.anexact.org9102043<img src="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_854.png" data-mid="49129847" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_854.png" />>> Data Made Me Do It
a symposium on data, urbanism & design
13-14 March 2015
curated by Etienne Turpin, Sara Dean & Kyle Steinfeld
College of Environmental Design
University of California Berkeley
<img src="http://payload340.cargocollective.com/1/5/180415/9102043/DMMDI-Symposium_640.jpg" width="640" height="640" width_o="640" height_o="640" src_o="http://payload340.cargocollective.com/1/5/180415/9102043/DMMDI-Symposium_640.jpg" data-mid="50956701" border="0" align="left" data-title="670 (640) — 640 × 640"/>
> Brief Description
The challenges of integrating big data analytics into the domain of environmental design and of making big data sets actionable within design practice remain critically underdeveloped. Although the practice of data mining has expanded exponentially for proprietary applications and commercial purposes, the development of data-driven design methods demands further attention. Such attention would be keyed not only to the data rich urban environment, but also to related issues — including the rate of climatic change, the scale and scope of urbanization processes, and the intensity of non-formal settlement construction — which make the need for new approaches to urban data collection, coordination, and integration even more urgent. Evidently, new tools, techniques, and methods are required that can sufficiently respond to the dynamic urban challenges of the 21st century, as are new theoretical, scholarly, and policy approaches that attend to these rapidly transforming civic dynamics.
As a vehicle for the exploration of these questions, the symposium brings together leading scholars, researchers, critics, and practitioners for a series of discussions about the consequences of big data and its latent potentials for design, planning, and activism. Following the first day of panel presentations and discussions, the second day of the symposium will host a series of workshops for researchers working in data-driven design and the coordination of big data for urban and environmental research, advocacy, and intervention. Integrating scholarly and theoretical questions with project and practice-based approaches, this multidisciplinary symposium assumes that these trajectories cannot be adequately explored in isolation from each other. As forays into big data analytics support increasingly innovative design strategies, and as new theoretical approaches and policy frameworks shape the future of urban data politics, the symposium asks how, why, and for whom: Data Made Me Do It.
> Schedule
Friday 13 March 19h00
@ Internet Archive
The Data Made Me Do It Keynote Panel
with guests Saskia Sassen, Katina Michael, and Omar Kahn
Saturday 14 March 10h00-18h00
@ UC Berkeley College of Environmental Design
Panel Sessions with guest speakers including Luís Bettencourt, Tomas Holderness, Lori Brown, Dietmar Offenhuber (moderated by Nicholas de Monchaux); Yanni Loukissas, Sara Williams, Erik Rodenbeck (moderated by Kyle Steinfeld); and, Jordan Brandt, Ron Rael and others (moderated by Jonathan Bachrach).
Full schedule
> Contact
etienne at anexact dot org
> Studio One
<img src="http://payload340.cargocollective.com/1/5/180415/9102043/Screen-Shot-2014-11-16-at-5.36.01-PM_670.png" width="670" height="414" width_o="2312" height_o="1432" src_o="http://payload340.cargocollective.com/1/5/180415/9102043/Screen-Shot-2014-11-16-at-5.36.01-PM_2312.png" data-mid="49129773" border="0" align="left" data-title="670 — 670 × 414"data-hi-res="http://payload340.cargocollective.com/1/5/180415/9102043/Screen-Shot-2014-11-16-at-5.36.01-PM_1340_c.png" />
Students and faculty of 2014-15 Studio One during first review: The Data Made Me Do It.
Read more about CED Studio One here.
<img src="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_854.png" data-mid="49129847" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload340.cargocollective.com/1/5/180415/9102043/_-ANEXACT_white2_854.png" />>> Data Made Me Do It a symposium on data, urbanism & design 13-14 March 2015 curated by Etienne Turpin, Sara Dean & Kyle Steinfeld College of Environmental...> intercalations serieshttp://anexact.org/intercalations-series
http://anexact.org/following/anexact.org/intercalations-seriesTue, 27 May 2014 20:24:14 +0000www.anexact.org7980436<img src="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" data-mid="49130292" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" />>> intercalations: paginated exhibition series
in partnership with the Haus der Kulturen der Welt & K. Verlag
<img src="http://payload284.cargocollective.com/1/5/180415/7980436/_600x291_orra_white_hitchcock_crop1399835652.png" width="600" height="291" width_o="600" height_o="291" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/_600x291_orra_white_hitchcock_crop1399835652_o.png" data-mid="42946530" border="0" align="left" data-title="670 (600) — 600 × 291"/> Orra White Hitchcock, drawing of strata near Valenciennes, 1828–40, pen and ink on linen,
(1 of 61); courtesy of Amherst College Digital Collections
The intercalations: a paginated exhibition series is conceived as a curatorial-editorial space to both host and critically reflect on the collaborations among members and affiliates of the SYNAPSE International Curators’ Network of the Haus der Kulturen der Welt, Berlin while enabling explorations of the book as a form of exhibition architecture in relation to other aesthetic practices in the Anthropocene. In addition to its function as a vehicle to document the collaborations of the SYNAPSE network, this book-as-exhibition series aims to expand the discourse of curatorial knowledge production within a broader multidisciplinary field of research and experimentation. The series will gradually establish a compact library of its own by asking how the Anthropocene hypothesis urges us to rethink traditional fields of knowledge. Whereas each publication focuses on one distinct topic addressed by SYNAPSE collaborators, the series as a whole seeks to confront the entangled relationships of habitually made distinctions. When explored as “intercalations,” the so-called dialectic categories of nature and culture, human and non-human, subject and object, fact and fiction become transitional, layered narratives with permeable boundaries. Using archival and contemporary materials as well as visual and textual juxtaposition, intercalations is meant to act as an intensifier for curatorial thought and action; we aim to encourage and embolden modes of inquiry which provoke singular perspectives, develop matters of concern, and challenge dominant cultural dispositions.
The intercalations series was conceived by SYNAPSE members Anna-Sophie Springer and Etienne Turpin. Edited in association with Kirsten Einfeldt and Daniela Wolf, and designed by Katharina Tauer, the series will be published and distributed internationally by K. Verlag and the Haus der Kulturen der Welt, as both printed matter and open access publications online. The collaborations fostered in the series will be further developed through international events to occasion additional institutional collaborations and meaningful participation in larger event structures such as art and architecture biennales and thematically related exhibitions.
intercalations 1:
Fantasies of the Library, edited by Anna-Sophie Springer & Etienne Turpin
(Berlin: K. Verlag & Haus der Kulturen der Welt, January 2015)
<img src="http://payload284.cargocollective.com/1/5/180415/7980436/unnamed.gif" width="670" height="557" width_o="987" height_o="820" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/unnamed.gif" data-mid="50756087" border="0" align="left" data-title="670 — 987 × 820"data-hi-res="http://payload284.cargocollective.com/1/5/180415/7980436/unnamed.gif" />
… wherein the book-as-exhibition viewer learns, rather surprisingly—but with growing conviction—that the library is not only a curatorial space, but that its bibliographic imaginary is also a fertile territory for the exploration of paginated affairs of the Anthropocene.
With contributions by Kirsten Einfeldt, Adam Hyde, Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Etienne Turpin, Andrew Norman Wilson, Daniela Wolf, and Joanna Zylinska.
[SYNAPSE announcement]
[open access pdf]
[order copy]
intercalations 2:
Land & Animal & Nonanimal, edited by Anna-Sophie Springer & Etienne Turpin
(Berlin: K. Verlag & Haus der Kulturen der Welt, January 2015)
<img src="http://payload284.cargocollective.com/1/5/180415/7980436/intercalations2-2.gif" width="598" height="480" width_o="598" height_o="480" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/intercalations2-2.gif" data-mid="50814762" border="0" align="left" data-title="670 (598) — 598 × 480"/>
… an ensemble which contends that the essence of the Anthropocene is less its geological re-formation than its trans-formation of both the land and the animal and wherein the book-as-exhibition viewer learns nothing of the sound or the rhythm of the earth and its creatures, but instead is asked to reflect on the vast transformative reality we persist in calling the Earth.
With contributions by Mitch Akiyama, Bianca Baldi, Seth Denizen, Thom van Dooren, Natasha Ginwala, Arvo Leo, Richard Pell & Lauren Allen (Center for Postnatural History), Karthik Pandian & Andros Zins-Browne, Robert Zhao Renhui (Institute of Critical Zoology), and Axel Strachhnoy.
[SYNAPSE announcement]
[open access pdf]
[order copy]
[03] Reverse Hallucinations in the Archipelago (forthcoming July 2015)
… a conglomeration of positions, wherein the book-as-exhibition viewer learns, through an iterative study of European naturalists in the Malay archipelago during the nineteenth century, how the theory of evolution emerged alongside a concern regarding mass extinctions; here the reverse hallucinatory experience—of not seeing what is manifestly present—characterizes a darker exhumation of the emotional lives of scientists whose exposure to the torrential efflorescence of tropical becoming radically challenged the scientific will to knowledge.
With contributions by George Beccaloni, Fred Langford Edwards, Matthias Glaubrecht, Anna-Sophie Springer, Renate Sternagel, Rachel Thompson, Etienne Turpin & others.
[04] The Word For World Is Still Forest (July 2015)
… a place, wherein the book-as-exhibition viewer learns that a forest can not only be seen for the trees, but can manifestly give rise to experiences of elegance, affirmation, and the confounding perplication of the Anthropocene.
With contributions by Nabil Ahmed, Eduardo Kohn, Manuela Moscoso, and others (forthcoming September 2015)
[05] Expenditures in the Decapitated Economy
… a book of provocation, wherein the book-as-exhibition viewer learns that the “head,” despite its interminable rule over the body in the Anthropocene, necessarily underestimates sophistication of corporeal desire when such desire is released in accord with the principles of a general economy.
With contributions by Vincent Normand, Xiaoyu Weng, Geraldine Juarez, Moritz Metz, and others (forthcoming December 2015)
[06] These Birds of Temptation
… a queer refrain, populated with both acoustical lines of flight and the sorrows of captivity; this book, wherein the book-as-exhibition viewer learns that the minor science of ornithology is as preoccupied with the flirtations and allopreening of avifauna as it is with their taxonomical domination, completes our first cycle of publications.
With contributions by Anais Nin, Anna-Sophie Springer, Bertolt Brecht, Ho Tzu Nyen, the 2015 SYNAPSE curators group, and others (forthcoming December 2015)
<img src="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" data-mid="49130292" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" /> About the Publishers & Editors
Haus der Kulturen der Welt (HKW) is a place for international contemporary arts and a forum for current developments and discourse. Located in the capital city of Berlin, it presents artistic productions from around the world, with a special focus on non-European cultures and societies. Visual arts, music, literature, performing arts, film, academic discussions and digital media are all linked in an interdisciplinary program that is unique in Europe. Fostering the dialogue between the arts and the sciences with projects like “Über-Lebenskunst,” “The Anthropocene Project” and “On Research,” HKW is currently one of the key cultural protagonists in the multidisciplinary field. SYNAPSE – The International Curators’ Network, a project developed by Kirsten Einfeldt and Daniela Wolf, in cooperation with the Ernst Schering Foundation, takes up current topics at the intersection of the arts and sciences in curatorial theory and practice. After a first edition with international workshops and productions in 2011, the SYNAPSE workshop focused on the Anthropocene thesis during its second manifestation in 2013.
Anna-Sophie Springer is one of the co-directors of K. Verlag. Having completed an M.A. in Contemporary Art Theory from Goldsmiths College, University of London, and an M.A. in Curatorial Studies from the Hochschule für Grafik und Buchkunst, Leipzig, her practice merges curatorial, editorial, and artistic interests. Whether it is in the framework of a traditional book, an exhibition, or a book-as-exhibition, her work stimulates a fluidity between images, artefacts, and texts in order to produce new geographical, physical, and cognitive proximities, often in relation to historical archives. She is currently Associate Editor of publications for the 8th Berlin Biennale; she has previously worked as Editor for the pioneering German theory publisher Merve Verlag, before launching K. in 2011.
intercalations is a project of the SYNAPSE International Curators’ Network and a part of the
"The Anthropocene Project" at the Haus der Kulturen der Welt.
The series is produced in cooperation with Ernst Schering Foundation.
<img src="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" data-mid="49130292" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload284.cargocollective.com/1/5/180415/7980436/_-ANEXACT_white2_854.png" />
>> intercalations: paginated exhibition series in partnership with the Haus der Kulturen der Welt & K. Verlag Orra White Hitchcock, drawing of strata near...> The Geologic Turn http://anexact.org/The-Geologic-Turn
http://anexact.org/following/anexact.org/The-Geologic-TurnWed, 25 Dec 2013 17:23:17 +0000www.anexact.org2476966<img src="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_854.png" data-mid="49138487" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_854.png" />>> The Geologic Turn
<img src="http://payload8.cargocollective.com/1/5/180415/2476966/Screen Shot 2012-10-13 at 7.19.39 PM.png" width="670" height="478" width_o="1188" height_o="848" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/Screen Shot 2012-10-13 at 7.19.39 PM_o.png" data-mid="22409703" border="0" align="left" data-title="670 — 670 × 478"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2476966/Screen Shot 2012-10-13 at 7.19.39 PM_o.png" />
The Geologic Turn: Architecture's New Alliance
a symposium curated by Etienne Turpin
Jan. 10 + Feb. 10-11, 2012
The symposium was generously supported by the Walter B. Sanders Fellowship and the Institute for the Humanities, University of Michigan.
All video recordings of lectures and discussions are available below. Please note: some videos may stream better when played directly from vimeo.
The publication which followed from the symposium, Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy, edited by Etienne Turpin (Ann Arbor: MPublishing/Open Humanities Press, 2013), is also now available online.
<img src="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2_o.png" data-mid="37911300" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2_o.png" />Symposium Proceedings
> 10 February, 2012
Landform Building: Architecture's New Terrain
Stan Allen (Princeton University School of Architecture)
Green roofs, artificial mountains and geological forms; buildings you walk on or over; networks of ramps and warped surfaces; buildings that carve into the ground or landscapes lifted high into the air: all these are commonplace in architecture today. New technologies, new design techniques and a demand for enhanced environmental performance have provoked a re-thinking of architecture’s traditional relationship to the ground. Some of today’s most innovative buildings no longer occupy a given site but instead, construct the site itself. Landform Building sets out to examine the many manifestations of landscape and ecology in contemporary architectural practice: not as a cross-disciplinary phenomenon (architects working in the landscape) but as new design techniques, new formal strategies and technical problems within architecture.
Stan Allen, Princeton University from Taubman College on Vimeo.
> 11 February, 2012
Immanent Histories 10.00-11:30 AM
Documenting a series of erratic boulders that were first deposited at the toes of the retreating Late-Wisconsin ice sheets, Harvard GSD Assistant Professor Jane Hutton will consider the role of glacially distributed rocks in instigating popular conceptions about the continuum between human and geological action; Seth Denizen, currently Master of Landscape Architecture candidate at the University of Virginia where his thesis research studies the anthropogenic soils of New York City and their disturbing taxonomies, will then consider the temporal and aesthetic dimensions that made modern geology empirically sensible and suggest a correlative proposal for the Anthropocene; and, Taubman College Assistant Professor Amy Kulper will then discuss research from her current book project Immanent Natures: The Laboratory as Paradigm for Architecture’s Experimental Practices, and consider the geologic in the writings of Viollet, Semper, and Ruskin. The panel, moderated by Taubman College Assistant Professor Meredith Miller of milligram office, seeks to track the geologic turn as part of a long and immanent history within which design research explores the precarity of its own foundations.
Seth Denizen (UVa) from Taubman College on Vimeo.
Jane Hutton (Harvard GSD) from Taubman College on Vimeo.
Amy Kulper (Taubman College) from Taubman College on Vimeo.
Immanent Histories Discusion with Meredith Miller (Taubman College) from Taubman College on Vimeo.
Making the Geologic Now 11:30-01:00 PM
In this session, smudge studio collaborators Jamie Kruse and Elizabeth Ellsworth will announce early sightings of an emergent and expanding cultural sensibility: the increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for understanding and responding to conditions of the present moment. Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. Artists, designers, architects, and cultural producers have begun to explore and creatively respond to the geologic depth of "now." smudge will trace some of these developments, and present their own work as a test site for what might become thinkable or possible if we humans were to collectively take up the geologic as our instructive co-designer—as our partner in designing thoughts, objects, systems, and experiences. The panel will be moderated by Taubman College Assistant Professor Rosalyne Shieh of SCHAUM/SHIEH.
Jamie Kruse and Elizabeth Ellsworth of smudge studio from Taubman College on Vimeo.
Making the Geologic Now Discussion with Rosalyne Shieh (Taubman College) from Taubman College on Vimeo.
Hard and Soft Evidence 02:30-04:00PM
Professor Edward Eigen, who is currently preparing to publish An Anomalous Plan, a book which discusses the development of laboratory spaces in nineteenth-century France, will begin with a discussion of the false bottom of historical geology; Paulo Tavares, an architect and urbanist from Brazil, will consider how, as the Earth enters the legal arena, the scientific and documentary techniques employed to mediate its testimony appear as sites through which the construction of historical-political narratives are disputed; and, D. Graham Burnett, historian of science and editor of Cabinet magazine, will then consider, in response to these presentations, the epistemological horizon as it is apportioned between scientific investigation and design research. This panel will be moderated by Taubman College’s Assistant Professor Rania Ghosn, whose research on Landscapes of Energy can be found in New Geographies.
D. Graham Burnett (Department of History, Princeton University) from Taubman College on Vimeo.
Edward Eigen (Spitzer School of Architecture, CCNY/CUNY) from Taubman College on Vimeo.
Paulo Tavares (Centre for Research Architecture, Goldsmiths) from Taubman College on Vimeo.
Hard and Soft Evidence Discussion with Rania Ghosn (Taubman College) from Taubman College on Vimeo.
> 10 January, 2012, 06:00PM
Introductory Lecture
Wastelands and Wilderness
Peter Galison
As they are usually understood, the designations "nuclear wasteland" and "pure wilderness" are opposites; when they converge we often describe this circumstance as "paradoxical" or "ironic." Taking stock of plans to handle lands that will remain saturated with radionuclides for tens of thousands of years, I argue that the categories of wastelands and wilderness are far from dichotomous; that their relation is far more intriguing than a binary of purity and corruption. Removing parts of the earth in perpetuity - for reasons of sanctification or despoilment - alters a central feature of the human self, presenting us in a different relation to the physical world, and raising irreducible questions about who we are when land can be classified, forever, as not for us humans.
<img src="http://payload8.cargocollective.com/1/5/180415/2476966/Landscapesof Exclusion.png" width="515" height="1050" width_o="515" height_o="1050" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/Landscapesof Exclusion_o.png" data-mid="14070503" border="0" align="left" data-title="670 (515) — 515 × 1050"/>
Images from SANDIA Report
Expert Judgment on Inadventent Intrusion into the Waste Isolate Pilot Plant
There is no recording of this lecture. Peter Galison’s recent interview with smudge studio on secrecy and the Waste Isolation Pilot Plant, Carlsbad, New Mexico, is available here.
<img src="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2_o.png" data-mid="37911300" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2476966/_ ANEXACT_white2_o.png" />Background on the Anthropocene
In 2002, the chemist Paul Crutzen coyly suggested to a group of fellow scientists that our current geological epoch should be renamed the Anthropocene to reflect the decisive impact humans have on their environment, including its geological features. Following Crutzen’s comments and a paper published the same year in the journal Nature, the Anthropocene began to circulate within hydrospheric, biospheric, and pedospheric research and their attendant scientific publications. However, it was not until 2007, when the British stratigrapher, Jan Zalasiewicz, then serving as the
chair man of the Geological Society of London’s Stratigraphy Commission, asked his colleagues about the merit of the term that it began to register as a formal geological question. While the International Commission on Stratigraphy and the International Union of Geological Sciences (IUGS) continue to debate the relevant scientific merits of this diachronic shift, in the visual arts, theoretical humanities, and architecture and landscape architecture we have witnessed a turn to the
geologic.
With publications such as Smudge Studio’s Geologic City: a field guide to the GeoArchitecture of New York, as well as Stan Allen and Marc McQuade’s edited collection Landform Building: Architecture’s New Terrain, and Peter Galison’s forthcoming Building Crashing Thinking, it is clear that a productive new alliance among geological research, the visual arts, science and technology studies, and the design disciplines is under construction. The symposium aims to clarify three lines that inform this geological alliance: historical scholarship, theoretical inquiry, and contemporary practice. Of course, these three lines are sometimes quite productively tangled, and the symposium participants have all been invited for their unique abilities to entangle research, theory and practice, and thereby produce important hybrid models for contemporary scholarship.
In order to avoid the false claims of novelty, the relations among architecture, landscape, and geology will be discussed in their historical context (Jane Hutton, Seth Denizen, Amy Kulper, Meredith Miller). The theoretical component of current affinities between science and design research, and their potential relation to the Anthropocene, will comprise a second line of discussion (Edward Eigen, D. Graham Burnett, Paulo Tavares, Rania Ghosn). The third line of inquiry regarding contemporary practice would take up geologic commitments through a discussion of current practices in architecture and landscape architecture (Stan Allen), the visual arts and cultural production (Elizabeth Ellsworth and Jamie Kruse of smudge studio), and the history of science (Peter Galison).
<img src="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_854.png" data-mid="49138487" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2476966/_-ANEXACT_white2_854.png" />>> The Geologic Turn The Geologic Turn: Architecture's New Alliance a symposium curated by Etienne Turpin Jan. 10 + Feb. 10-11, 2012 The symposium was...> Terrible is the Earthhttp://anexact.org/Terrible-is-the-Earth-1
http://anexact.org/following/anexact.org/Terrible-is-the-Earth-1Wed, 25 Dec 2013 15:35:15 +0000www.anexact.org6977732<img src="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_854.png" data-mid="49138414" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_854.png" />>> Terrible is the Earth
<img src="http://payload233.cargocollective.com/1/5/180415/6977732/fmsgg5bp-1335996751.jpg" width="668" height="822" width_o="668" height_o="822" src_o="http://payload233.cargocollective.com/1/5/180415/6977732/fmsgg5bp-1335996751_o.jpg" data-mid="37788835" border="0" align="left" data-title="670 (668) — 668 × 822"/>
Perpetrator with Tasmanian tiger.
"Ethology is the comparative study of animal behavior. Ethologists study the biological roots and meanings of animal actions. The first step in that process is to construct an ethogram. In its simplest form, an ethogram is a quantitative description of an animal’s normal behavior. Constructing a useful ethogram demands time spent watching animals, taking careful notes, and making sense of the observed behaviors. You end up with an annotated catalogue of behavioral patterns grouped in a coherent fashion that describe what a given species does in a given environment." — Biology 261
This is a long term writing project, with the first major section—Terrible is the Earth: Ethograms 1
—currently in preparation, through which I am attempting to construct a philosophical-ethological reading of the Anthropocene by way of a patient study of three series which best characterize the era's main actor-perpetrator, the human. Written in part as a response to the current philosophical phobia of the human (i.e. who's afraid of anthropocentrism?) and, more generally, as a meditation, in the sense that Georges Bataille, following Nietzsche, gives the term, on the co-production of the human ethogram through the natural sciences and the theoretical humanities, this series of experimental texts are presently in erratic production. Under the title Terrible is the Earth, the first series examines episodes of intense interactivity among philosophical, infrastructural, and ethical registers pressurized by perceived and intended tellurian hostilities. Among the texts already developed for Part 1, an abridged version of the chapter Why were there tigers? has been published as part of the collection Grain Vapor Ray by the Haus der Kulturen der Welt, Berlin, Germany.
Read the essay Why were there tigers? here.
Why were there tigers?
a new essay on Georges Bataille, evolution, sex, death and the gift
http://t.co/uy3RZBZHIm pic.twitter.com/InZMeuIsEX— etienne turpin (@turpin_etienne) September 2, 2014
<img src="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_854.png" data-mid="49138414" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload233.cargocollective.com/1/5/180415/6977732/_-ANEXACT_white2_854.png" />>> Terrible is the Earth Perpetrator with Tasmanian tiger. "Ethology is the comparative study of animal behavior. Ethologists study the biological roots and...> Art in the Anthropocenehttp://anexact.org/Art-in-the-Anthropocene
http://anexact.org/following/anexact.org/Art-in-the-AnthropoceneWed, 25 Dec 2013 15:35:10 +0000www.anexact.org6977696<img src="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_854.png" data-mid="49130224" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_854.png" />>> Art in the Anthropocene
Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies
edited by Heather Davis & Etienne Turpin
(estimated release April 2015)
<img src="http://payload233.cargocollective.com/1/5/180415/6977696/COVER-copy.jpg" width="227" height="340" width_o="227" height_o="340" src_o="http://payload233.cargocollective.com/1/5/180415/6977696/COVER-copy_o.jpg" data-mid="44399244" border="0" align="left" data-title="670 (227) — 227 × 340"/>
> Brief Description
During the preparation of the collection Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy, (Ann Arbor: Open Humanities Press, 2013), I was encouraged to divide the content of book into two more moderate, manageable collections. With the completion of the first volume, I am now working with Heather Davis on the second publication, Art in the Anthropocene: Encounters Among Politics, Aesthetics, Environments & Epistemologies. This collection will bring together the work of artists, curators, art historians, and philosophers to critically engage with the Anthropocene thesis in the wake of the Fifth Assessment Report (AR5) of the Intergovernmental Panel on Climate Change, who have carefully assembled the most comprehensive image to date of anthropogenic climate change and its consequences. The essays, interviews, and artistic interventions that constitute this second volume take the current environmental catastrophe of the Anthropocene as their starting point. Following the publication of Architecture in the Anthropocene, which attempted to develop design and architectural practices in relation to both climatic and geological change, we see this second volume - between the Fifth Assessment and the Sixth Extinction - as a way to expand the discourse on the geologic turn to include aesthetic, curatorial, and artistic strategies for confronting, criticizing, or otherwise engaging the Anthropocene thesis.
> Contributors
We are excited to report that the following contributors have been confirmed: Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud, & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway, Ho Tzu Nyen, Martha Kenney, Emily Kutil, Bruno Latour, Mary Mattingly, Natasha Myers, Jean-Luc Nancy, Vincent Normand, Richard Pell, John Paul Ricco, Tomas Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Pinar Yoldas, Marina Zurkow, Oliver Kellhammer, Fritz Ertl & Una Chaudhuri.
> Co-editor Biography
Heather Davis is a researcher, writer and community-based artist from Montreal. She is currently a FQRSC postdoctoral fellow in the Department of Women’s Studies at Duke University, where she is working on a project which traces the ethology of plastic as a materialization of the philosophic division of the subject and object. She completed her Ph.D. in the joint program in Communication at Concordia University in 2011 on the political potential of community-based art. In 2010, she was a visiting scholar with the Hemispheric Institute of Performance and Politics at NYU and the Department of Women’s and Gender Studies at Rutgers University. She explores and participates in expanded art practices that bring together researchers, activists, and community members to enact social change. She is the co-founder of Ouvert/Open, an art and activist collective which seeks to re-envision public space and circulation in Montreal and is an active member of Kabane 77, a radical art, film and education collective. She has written about the intersection of art, politics, and community engagement for Fibreculture, Public, Politics and Culture, Canadian Women’s Studies Journal, The Encyclopedia of Social Movement Media, No More Potlucks, Scapegoat and Reviews in Cultural Theory. Read more here.
<img src="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_854.png" data-mid="49130224" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload233.cargocollective.com/1/5/180415/6977696/_-ANEXACT_white2_854.png" />>> Art in the Anthropocene Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies edited by Heather Davis & Etienne Turpin...> 125,660 Specimens http://anexact.org/125-660-Specimens
http://anexact.org/following/anexact.org/125-660-SpecimensWed, 25 Dec 2013 15:35:07 +0000www.anexact.org6532200<img src="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" data-mid="49135386" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" />>> 125.660 Spesimen Sejarah Alam
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2013-12-26 at 3.40.50 PM.png" width="670" height="337" width_o="1145" height_o="577" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2013-12-26 at 3.40.50 PM_o.png" data-mid="37652013" border="0" align="left" data-title="670 — 670 × 337"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2013-12-26 at 3.40.50 PM_o.png" />
Dr. Robert Prys-Jones menjelaskan sistem tagging Wallace di Natural History Museum at Tring;
foto oleh Etienne Turpin; hak cipta Natural History Museum at Tring.
Dr. Robert Prys-Jones explains the Wallace tagging system at the Natural History Museum at Tring; photograph courtesy of Etienne Turpin; image copyright of the Natural History Museum at Tring.
125.660 Spesimen Sejarah Alam
kurator Anna-Sophie Springer & Etienne Turpin
Komunitas Salihara Jakarta Indonesia
Pembukaan 15 Agustus 2015
125.660 Spesimen Sejarah Alam adalah iterasi pertama dari proyek kuratorial mengenai koleksi kolonial dan perubahan lingkungan yang mereka hasilkan. Pameran ini akan mengikuti perjalanan Alfred Russel Wallace (1823-1913) yang tersohor setelah menemukan teori evolusi oleh seleksi alam. Selama 1854-1862, Wallace menjelajahi nusantara, mendokumentasikan keanekaragaman hayatinya, dan mengumpulkan koleksi spesimen untuk museum-museum di Eropa. Pameran ini mengundang para seniman untuk menelusuri, menyesuaikan, dan menaksir kembali ekspedisi tersebut, baik dokumen maupun artefaknya. Kami mengajak seniman untuk menguji pergerakan pengetahuan kolonial dan perubahan lanskap yang diwariskan pengetahuan ini. Dengan menampilkan karya seni berdampingan dengan materi arsip pilihan, pameran ini akan mempertanyakan bagaimana pergerakan pengetahuan mentransformasi lingkungan melalui praktik-praktik kolonial dan kontemporer.
125,660 Specimens of Natural History
curated by Anna-Sophie Springer & Etienne Turpin
Komunitas Salihara Jakarta Indonesia
Opening 15 August 2015
125,660 Specimens of Natural History is the first iteration of a curatorial project about colonial collections and the environmental transformations they produced. The exhibition follows the course of Alfred Russel Wallace (1823–1913), best known for co-discovering the theory of evolution by natural selection. From 1854–62, Wallace travelled the archipelago, documenting the region’s biodiversity and amassing a gigantic collection of specimens for European museums. The exhibition invites artists to retrace, re-appropriate, or reassess the expedition, its documents, and artifacts; artists are encouraged to examine the mobility of colonial knowledge and the transformations of the landscape these practices left behind. By presenting artworks alongside a selection of archival materials, the exhibition will ask how the mobility of knowledge transforms the environment through both colonial and contemporary practices. Inviting Indonesian artists to re-appropriate the colonial archive also tries to reverse the unidirectional mobility of colonial knowledge while enabling new dialogues between Southeast Asian artists and European museums.
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" data-mid="49135386" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" />Exhibition Team
Guest Curators _ Anna-Sophie Springer & Etienne Turpin
Gallery Curator _ Dian Ina
Design Research Coordinator _ Alex Berceanu
Design Research Assistant _ Robin Hartanto
Media Strategist _ Alifa Rachmadia Putri
Research Assistant _ Widya Ramadhani
Exhibition Designer _ d-associates
Exhibition Design Assistant _ Tatyana Kusumo
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" data-mid="49135386" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" />Previous Events
> 2015.01.11
Institut Kunst Interview
Five Questions to Anna-Sophie Springer
by Alexandra Navratil
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/Fig02-740x3042x_670.jpg" width="670" height="275" width_o="1480" height_o="608" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/Fig02-740x3042x_1480.jpg" data-mid="49428530" border="0" align="left" data-title="670 — 670 × 275"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/Fig02-740x3042x_1340_c.jpg" />
Map of Southeast Asian archipelago showing Alfred Russel Wallace’s route; from his book The Malay Archipelago: The land of the orang-utan, and the bird of paradise – A narrative of travel, with sketches of man and nature (1869).
Alexandra Navratil Anna-Sophie, it is hard to keep up with all the different projects you are working on and that you are involved in. I first encountered you as an exceptional translator, then as an excellent thinker and writer and then as the co-founder of K. Verlag. But I am especially curious about your most recent project that took you on a longer research travel through Indonesia earlier this year. Could you tell me more about it?
Anna-Sophie Springer Thank you for your interest, Alexandra! The research you are referring to is leading toward an exhibition, 125,660 Specimens of Natural History, on the contemporary legacy of Alfred Russel Wallace’s collecting expedition through the Malay archipelago that I have been working on for a bit over a year now. ...
Read the entire interview here thanks to Institut Kunst.
> 2013.12.06
How on Earth? Cartography & Curatorial Practice in the Archipelago
a lecture by Anna-Sophie Springer and Etienne Turpin
& discussion with curator Margarida Mendes
The Barber Shop
R. Rosa Araújo 5
Lisbon, Portugal
19:00-21:00
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2014-02-01 at 5.21.47 PM.png" width="670" height="500" width_o="1900" height_o="1418" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2014-02-01 at 5.21.47 PM_o.png" data-mid="38967095" border="0" align="left" data-title="670 — 670 × 500"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/Screen Shot 2014-02-01 at 5.21.47 PM_2x.png" />
Magellan map of the Malay Archipelago; courtesy of the Lisbon Geographical Society.
While geologists and stratigraphers debate the scientific merits of the Anthropocene thesis, culture workers remain precariously exposed to experiences of the planetary upheavals characteristic of our all-too-human epoch. If, as Peter Sloterdijk has suggested, our planet of terrestrial globalization has become a world interior of capital, what are the cartographic and curatorial practices that might respond to the ecologies of excess in this world interior?
At The Barber Shop, Scapegoat editor Etienne Turpin will present the project of “Excess” in relation to a series of cartographic assemblages that describe the globalized condition of the Anthropocene. Independent curator and Scapegoat contributor Anna-Sophie Springer will then discuss contemporary curatorial practice in relation to historical and geographical images of the archipelago. These presentations will be followed by a moderated discussion of the aesthetics of the Anthropocene, legacies of colonial cartography and collecting, and recent trajectories in artistic and curatorial practice that address our planetary construction site.
In both the presentation and discussion, we will consider the provocation of Michel Serres, who has suggested, “All possible encounters have been accomplished, undertaken, ended, foreclosed. The cycle is completed, the map of the earth has covered the earth. Space is inscribed upon the charts. The globe is perceived as a ball in a net of latitudes and longitudes.” With this event, we want to introduce several new perspectives on the relationship between the map and the territory; we hope the Lisbon launch of Scapegoat 05 will provoke a discussion about how artistic and curatorial practices can navigate our planetary excesses to co-produce worlds of pleasure, passion, and conviction.
> 2013.12.05
Measurement as Argument:
Planetary Constructions, Postnatural Histories, and the Will to Knowledge
a seminar by Anna-Sophie Springer, Seth Denizen, and Etienne Turpin
organized by Lindsay Bremner
Expanded Territories Research Group
Faculty of Architecture & the Built Environment
University of Westminster
London, UK
12:30-14:00
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2013-12-25-at-6.37.40-PM_o_670.png" width="670" height="444" width_o="1145" height_o="760" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2013-12-25-at-6.37.40-PM_o_1145.png" data-mid="49138151" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2013-12-25-at-6.37.40-PM_o_1000.png" />
Photograph of A.R. Wallace's "Species Notebook" (1855-1859); photograph by Etienne Turpin; copyright by the Linnean Society of London.
In this Expanded Territories Seminar, we will consider the relationship among the construction of systems of thought, our knowledge of the Earth System, and what Michel Foucault, following Nietzsche, describes as the will to knowledge. By examining several key episodes in the mid– to late–nineteenth century—including Antonio Stoppani’s argument for an “Anthropozoic” era, Vasily Dokuchaev’s proposal for a soil science distinct from geology, Franz Wilhelm Junghuhn’s early cartography of Java, and Alfred Russel Wallace’s theory of biogeographical distribution—we can observe how measurement as argument has advanced our understanding of the Earth system in its manifold complexity. Because these systems of thought are not given, but produced, they suggest, according to Foucault, “what real struggles and relations of domination are involved in the will to knowledge.” As the Anthropocene as an object of knowledge is being constructed by stratigraphers and geologists, we can discern a series of affinities connecting measurement, aesthetic practices, and the production of evidence. How measurement as argument will challenge our inherited views of the architectural object in the Anthropocene remains to be seen; what is evident already is that this will to knowledge frames both our perception of the world and our capacity to change it.
> 2013.11.26
Reverse Hallucinations in the Archipelago:
From Early Javanese Cartography to A.R. Wallace's Collection
a lecture by Etienne Turpin
Asia Art Archive
11/F Hollywood Centre
233 Hollywood Road
Sheung Wan
Hong Kong
12:00-14:00
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2014-12-30-at-11.34.16-AM_670.png" width="670" height="441" width_o="1716" height_o="1130" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2014-12-30-at-11.34.16-AM_1716.png" data-mid="49138229" border="0" align="left" data-title="670 — 670 × 441"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/Screen-Shot-2014-12-30-at-11.34.16-AM_1340_c.png" />
Specimen from the Zoological Museum of Bogor, Indonesia; courtesy of Etienne Turpin.
Etienne Turpin will present some of his recent work on the power relations which are revealed by practices of collecting. He will discuss some of his artistic and curatorial projects about the history of colonial collections and the production of natural history as a form of knowledge, including For a Minor Ornithology and 125,660 Specimens of Natural History. He will also discuss his current project that uses community-based data collection on open source platforms to promote urban and community resilience in Jakarta. By addressing the relationship between the will to knowledge and the perpetuation of violence, Etienne hopes to encourage a discussion of postnatural and postcolonial practices that foster mutual aid, interspecies solidarities, and resilient ecologies.
<img src="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" data-mid="49135386" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload211.cargocollective.com/1/5/180415/6532200/_-ANEXACT_white2_854.png" />>> 125.660 Spesimen Sejarah Alam Dr. Robert Prys-Jones menjelaskan sistem tagging Wallace di Natural History Museum at Tring; foto oleh Etienne Turpin; hak...> PetaJakarta.orghttp://anexact.org/PetaJakarta-org
http://anexact.org/following/anexact.org/PetaJakarta-orgMon, 14 Oct 2013 07:21:13 +0000www.anexact.org6490757<img src="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" data-mid="37788483" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" />>> PetaJakarta.org
<img src="http://payload209.cargocollective.com/1/5/180415/6490757/Screen Shot 2013-12-26 at 2.19.18 PM.png" width="670" height="431" width_o="1046" height_o="674" src_o="http://payload209.cargocollective.com/1/5/180415/6490757/Screen Shot 2013-12-26 at 2.19.18 PM_o.png" data-mid="37651441" border="0" align="left" data-title="670 — 670 × 431"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490757/Screen Shot 2013-12-26 at 2.19.18 PM_o.png" /> Photograph of Waduk Pluit, June 2013, following the eviction of 600 families on the west side of the reservoir.
Dr. Etienne Turpin researches the effects of climate change and other forms of environmental violence on the urban poor. He has experience coordinating and conducting urban field research in multidisciplinary projects addressing social and environmental transformations. Prior to joining the SMART Infrastructure Facility, Etienne taught architecture and advanced design research at the Taubman College of Architecture and Urban Planning, University of Michigan, where he was also a Research Fellow at the Center for Southeast Asian Studies. Etienne's editing, writing, and scholarship, as well as his design and curatorial practice, engage the complexity of urban systems and their manifold political histories and postnatural ecologies to advocate for greater social and environmental justice.
At SMART, Etienne is the co-director and co-principal investigator for the joint pilot study project - PetaJakarta.org - currently underway in Jakarta, Indonesia. Ultimately, his work on Southeast Asian urbanism is about developing new tools for citizen advocacy through site-based, empirical data collection, thus democratizing processes of urban transformation by meaningfully engaging the concerns and capacities of the urban poor.
Read more about the SMART Infrastructure Facility.
Read more about PetaJakarta.org.
Watch a project video trailer here.
Read an interview with United Nations Pulse Lab here.
<img src="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" data-mid="37788483" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" />Recent Work at SMART
> 2013.11.04
Just the City: Rethinking the Image of Urban Poverty
a lecture & discussion with AbdouMaliq Simone
of the Hawke Research Institute,
University of South Australia
moderated by Etienne Turpin
for the launch of Jakarta: Architecture + Adaptation, edited by Etienne Turpin, Adam Bobbette,
and Meredith Miller [English and Bahasa Indonesian bilingual edition]
(Depok: Universitas Indonesia Press, 2013).
SMART Infrastructure Facility
UOW Building 6
14:00-16:00
As Southeast Asia’s most populous and most dense metropolitan conurbation, and the second largest urban footprint in the world, Jakarta, Indonesia, is already a city of postnatural hypercomplexity. However, recent trends in weather intensification, sea level rise, extreme river pollution, river flooding, and coastal inundation have made the city one of the key sites of research for urban theorists seeking to understand the pressures and politics of megacity transformation in the 21st century. Among the theorists engaged in such forms of inquiry, Professor AbdouMaliq Simone of the Hawke Research Institute, University of South Australia, has developed one of the most robust and influential theories of “cityness” through his recent publications, especially in his monograph City Life from Jakarta to Dakar: Movements at a Crossroads (New York and London: Routledge, 2011). In his lecture, Just the City: Rethinking the Image of Urban Poverty, Professor Simone will present research from his ongoing projects in Jakarta, Southeast Asia, and Africa, where his work is committed to rethinking the image of urban poverty, the politics of informality, and the struggles for social emancipation within megacities of the global south.
This event coincides with the release of Jakarta: Architecture + Adaptation, edited by Etienne Turpin, Adam Bobbette, and Meredith Miller (Depok: Universitas Indonesia Press, 2013). Given Professor AbdouMaliq Simone’s central role in the theoretical approach guiding the book, not to mention his formative interview which appears in the book, it is especially fitting that he would give this lecture and participate in a discussion on the politics and paradoxes of urban poverty for to coincide with the release of the publication in Australia.
As architects, planners, and engineers all struggle to find ways to exercise their disciplinary agency through socially and environmentally responsible practices, and as the design disciplines attempt to reorganize their commitments in the face of explosive trends of urban growth, the discussion among Professor Simone, SMART Vice Chancellors’ Postdoctoral Research Fellow Etienne Turpin, and the UOW audience will consider how collaborative, engaged, situated research can advance more equitable urban development within the assemblage of the contemporary megacity.
> 2013.10.30
Political Violence & Postnatural Urbanism: A Seminar on Design Research in the Anthropocene
presentation by Etienne Turpin
for the Institute for Social Transformation Research
Faculty of Law, Humanities, and The Arts
University of Wollongong
NSW 2522 Australia
19.2072b (Research Hub)
12:30-13:30
I consider several forms of political violence and postnatural urbanism as revealed by the current DKI Jakarta government’s plan for widespread “normalization.” This normalization plan—whereby Jakarta’s urban poor are first blamed for congestion, overcrowding, flooding, and then violently displaced, only to be replaced by more affluent and ecologically imperiling settlements—is an aesthetic strategy for “urban renewal” characteristic of neoliberal capitalism in the Anthropocene. This strategy is an attempt to coercively separate “urbanism” from “poverty.” I will show how a design research practice can create modes of interference among these processes and suggest how architecture, as a practice of social emancipation, can confront political violence by advancing strategic forms of urban solidarity and community mobilization.
> 2013.10.01
Design for Hypercomplexity: Megacities and Adaptation in the Anthropocene
presentation by Etienne Turpin
for the International Symposium on Next Generation Infrastructure
In this presentation, I will define the key terms that frame my research for SMART in Jakarta, Indonesia, including megacity, Anthropocene, postnatural, hypercomplexity, and adaptation. With this framework outlined, I will describe some of the most formidable obstacles facing my research and suggest why I believe that the potential for social emancipation at stake in this project demands a new social philosophy to bring together different trajectories of engineering and information science research.
<img src="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" data-mid="37788483" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" />Contact @ UoW
Etienne Turpin, Ph.D.
Vice-Chancellor's Postdoctoral Research Fellow
SMART Infrastructure Facility
Faculty of Engineering and Information Sciences
& Associate Research Fellow
Australian Center for Cultural Environmental Research
Department of Geography and Sustainable Communities
Faculty of Social Sciences
University of Wollongong NSW Australia 2522
+61 422 464369
eturpin (at) uow (dot) edu (dot) au
<img src="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" data-mid="37788483" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload209.cargocollective.com/1/5/180415/6490757/ANEXACT_white_o.png" />
>> PetaJakarta.org Photograph of Waduk Pluit, June 2013, following the eviction of 600 families on the west side of the reservoir. Dr. Etienne Turpin researches...> Synapse Curators' Networkhttp://anexact.org/Synapse-Curators-Network
http://anexact.org/following/anexact.org/Synapse-Curators-NetworkTue, 22 Jan 2013 10:11:42 +0000www.anexact.org2608465<img src="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_854.png" data-mid="49138475" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_854.png" />>> Synapse International Curators' Network
<img src="http://payload15.cargocollective.com/1/5/180415/2608465/Screen Shot 2013-12-26 at 12.11.42 PM.png" width="670" height="326" width_o="842" height_o="410" src_o="http://payload15.cargocollective.com/1/5/180415/2608465/Screen Shot 2013-12-26 at 12.11.42 PM_o.png" data-mid="37650164" border="0" align="left" data-title="670 — 670 × 326"data-hi-res="http://payload15.cargocollective.com/1/5/180415/2608465/Screen Shot 2013-12-26 at 12.11.42 PM_o.png" />
2013 Synapse curators' meeting, Haus der Kulturen der Welt, Berlin, April 2013;
photograph courtesy of Dante Busquets.
+ intercalations: paginated exhibition series
+ Synapse Blog for ongoing curatorial collaborations
+ Synapse Flickr
+ HKW Anthropocene-Project
+ HKW Anthropocene-Observatory (by Anslem Franke, Armin Linke, and Territorial Agency)
+ details below from the HKW
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10577 Berlin
www.hkw.de
www.hkw.de/anthropocene
Nature as we know it is a concept that belongs to the past. No longer a force separate from and ambivalent to human activity, nature is not an obstacle nor a harmonious other. Humanity forms nature. Humanity and nature are one, embedded within the recent geological record.
This is the core premise of the Anthropocene thesis, announcing a paradigm shift in the natural sciences as well as providing new thought models for culture, politics and everyday life. Popularized by Nobel laureate and chemist Paul Crutzen, the basis for the Anthropocene as our current geological epoch rests on the claim that humankind is the driving power behind planetary transformation. Over the next two years, the HKW embarks on an exploration of this hypothesis and its manifold implications.
The Anthropocene Project is an initiative of Haus der Kulturen der Welt in cooperation with the Max-Planck-Gesellschaft, Deutsches Museum, the Rachel Carson Center for Environment and Society, Munich and the Institute for Advanced Sustainability Studies, Potsdam.
Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.
<img src="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_670.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_854.png" data-mid="49138475" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload15.cargocollective.com/1/5/180415/2608465/_-ANEXACT_white2_854.png" />>> Synapse International Curators' Network 2013 Synapse curators' meeting, Haus der Kulturen der Welt, Berlin, April 2013; photograph courtesy of Dante...> Stainlessness http://anexact.org/Stainlessness
http://anexact.org/following/anexact.org/StainlessnessSun, 18 Dec 2011 18:10:59 +0000www.anexact.org2477054<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />>> Stainlessness
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-12-28 at 2.01.56 PM.png" width="670" height="389" width_o="1261" height_o="734" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-12-28 at 2.01.56 PM_o.png" data-mid="37788588" border="0" align="left" data-title="670 — 670 × 389"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-12-28 at 2.01.56 PM_o.png" />
I breathe the smell of steel in the world of the objects.
- Clarice Lispector, Agua Viva
The exhibition Stainlessness recuperates the tradition of the architectural ‘capriccio’ as a means to emphasize the history of labor movements in North America and to make legible the physical semblance of these movements in cities including Sudbury, Chicago, Pittsburgh, and Detroit. While processes of urbanization have all but erased these struggles from our cities and left only ambivalent monuments to mark the past, the narrative of Stainlessness and its contemporary ‘capriccios’ assert the centrality of labor as a force capable of transforming the nature of cities, the culture of America, and the geologic deep-time marked by the Anthropocene.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-06-21 at 12.33.32 PM.png" width="670" height="226" width_o="1598" height_o="541" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-06-21 at 12.33.32 PM_o.png" data-mid="18805530" border="0" align="left" data-title="670 — 670 × 226"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-06-21 at 12.33.32 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-08-06 at 8.54.22 PM.png" width="670" height="314" width_o="1133" height_o="531" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-08-06 at 8.54.22 PM_o.png" data-mid="20217687" border="0" align="left" data-title="670 — 670 × 314"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-08-06 at 8.54.22 PM_o.png" />
Images courtesy of the Albert Kahn Collection of the Bentley Historical Library,
University of Michigan.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />Limited Edition Prints Available
To accompany the exhibition, anexact office is pleased to announce the release of a Limited Edition set of Stainlessness prints. This Limited Edition set was printed from the original plates designed by Etienne Turpin with the graphic office Captains of Industry at the Cranbrook Academy of Art and Design with the help of artists Sara Dean and Marnie Briggs.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.37.39 PM.png" width="670" height="399" width_o="1184" height_o="706" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.37.39 PM_o.png" data-mid="27144914" border="0" align="left" data-title="670 — 670 × 399"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.37.39 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.39.53 PM.png" width="670" height="412" width_o="1198" height_o="738" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.39.53 PM_o.png" data-mid="27144985" border="0" align="left" data-title="670 — 670 × 412"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.39.53 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.38.31 PM.png" width="670" height="322" width_o="1269" height_o="611" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.38.31 PM_o.png" data-mid="27145000" border="0" align="left" data-title="670 — 670 × 322"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-02-25 at 7.38.31 PM_o.png" />
Limited Edition Set of 25
Each set contains:
_ 4 original prints (Detroit, Chicago, Pittsburgh, Sudbury)
+ each signed and numbered by the artist
+ dimensions: approximately 26” x 26” per print
+ materials: archival quality paper with black archival quality etching ink
Cost per set $1800 USD
To order, please email info /at/ anexact /dot/ org
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Sudbury_lowres.png" width="670" height="685" width_o="840" height_o="859" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Sudbury_lowres_o.png" data-mid="27772401" border="0" align="left" data-title="670 — 670 × 685"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Sudbury_lowres_o.png" />
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Chicago_lowres.png" width="670" height="682" width_o="839" height_o="855" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Chicago_lowres_o.png" data-mid="27772423" border="0" align="left" data-title="670 — 670 × 682"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Chicago_lowres_o.png" />
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Pittsburgh_lowres.png" width="670" height="681" width_o="842" height_o="857" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Pittsburgh_lowres_o.png" data-mid="27772426" border="0" align="left" data-title="670 — 670 × 681"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Pittsburgh_lowres_o.png" />
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Detroit_lowres.png" width="670" height="683" width_o="840" height_o="857" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Detroit_lowres_o.png" data-mid="27772430" border="0" align="left" data-title="670 — 670 × 683"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Detroit_lowres_o.png" />
Above are low resolution images of the 24 x 24 inch prints;
from top to bottom, Sudbury, Chicago, Pittsburgh and Detroit.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />The Architecture of Mineralization
We have released a special edition broadsheet publication at the New York Art Bookfair called The Architecture of Mineralization, featuring a short essay and a set of four prints which present the story of labor movements in North America and show how they have shaped the cities of Sudbury, Chicago, Pittsburgh, and Detroit. While processes of urbanization have all but erased these struggles from our cities and left only ambivalent monuments to mark the past, contemporary architectural 'capriccios' of The Architecture of Mineralization assert the centrality of labor as a force capable of transforming the nature of cities, the culture of America, and the geologic deep-time marked by the Anthropocene. The publication was designed by Sara Dean and is distributed by anexact office; to order copies, email info /at/ anexact /dot/ org.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.52.40 AM.png" width="670" height="405" width_o="1213" height_o="735" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.52.40 AM_o.png" data-mid="34583475" border="0" align="left" data-title="670 — 670 × 405"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.52.40 AM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.53.28 AM.png" width="670" height="500" width_o="1216" height_o="909" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.53.28 AM_o.png" data-mid="34583569" border="0" align="left" data-title="670 — 670 × 500"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-09-19 at 9.53.28 AM_o.png" />
To order single copies or bundles, or to receive promotional samples for your gallery or bookstore, please email: info /at/ anexact /dot/ org
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />> Previous Exhibitions & Events
__ Stainlessness
by Etienne Turpin
& Chicagoaxaca: Selections from The Assembly of Revolutionary Artists of Oaxaca
Art In These Times
curated by Ivan Arenas
Art in These Times
2nd floor of 2040 N Milwaukee Ave.
Chicago, IL 60647 USA
17 Jan – 21 March 2014
__ Stainlessness
CONVENIENCE gallery
58 Lansdowne Avenue, Toronto M6K 2V9
(at Seaforth Avenue, one block North of Queen)
6 May - 7 July 2013
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-05-31 at 1.32.55 PM_70.png" width="670" height="515" width_o="776" height_o="597" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-05-31 at 1.32.55 PM_70_o.png" data-mid="30921747" border="0" align="left" data-title="670 — 670 × 515"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2013-05-31 at 1.32.55 PM_70_o.png" />
Read more about the exhibition at convenience gallery here.
__ Reflections on Stainlessness:
Urbanization and Erasures of Political Struggle
a lecture & discussion at Pro QM
Berlin, Germany
29 April, 2013, 8PM
More information is online at Pro QM
__ Even the Dead Will Not Be Safe: Memory, Labor, and Political Struggle in the Anthropocene
a lecture & discussion at Halle 14
Liepzig, Germany
25 April, 2013
More information is online at Halle 14
Abstract (English version below):
Etienne Turpins Buch- und Ausstellungsprojekt „Stainlessness“ („Makellosigkeit“) ist eine Auseinandersetzung mit der Geschichte des Arbeiterkampfes in den USA und dessen verloren gegangenen Spuren in nordamerikanischen Großstädten. Das Projekt verweist auf die zentrale Rolle der Arbeit als eine Macht, die das Wesen von Städten verändert, Kulturen prägt und entscheidend Einfluss auf Natur und Umwelt nimmt.
Ausgangspunkt seines Vortrags am heutigen Abend ist die Erinnerung an den brutalen Versuch der Industriellen Andrew Carnegie und Henry Clay Frick, während der Homestead-Aussperrung 1892 die US-amerikanische Arbeiterbewegung zu zerschlagen. Der Streik, der in einer Revolte mit Feuergefechten zwischen Arbeitern, Staatsmiliz und Werkschutz-Kommandos gipfelte, zählt zu den größten Streiks der US-amerikanischen Geschichte und hatte die teilweise Militarisierung der Arbeiterbewegung zu Folge.
Turpin spannt den Bogen ins Hier und Heute. Er sucht nach Parallelen zu aktuellen Widerstands- bewegungen und zeigt auf, wie die neoliberale Kapitalmaschine und die sie begleitenden Urbanisierungsprozesse fortfahren, jede Spur von Protest mithilfe brachialer, makelloser Architektur wegzuwischen. Der Vortrag wird an Walter Benjamins Warnung erinnern: „... auch die Toten werden vor dem Feind, wenn er siegt, nicht sicher sein. Und dieser Feind hat zu siegen nicht aufgehört“.
Etienne Turpin’s book and exhibition project, “Stainlessness”, examines militant labor movements in the history of North America and the erasure of their physical traces in four exemplary metropolises. The project asserts the centrality of labor as a force capable of transforming the nature of cities, the culture of America, and that furthermore leaves a decisive impact on the environment.
The lecture opens by recalling the brutal attempt of Industrialists Andrew Carnegie and Henry Clay Frick to annihilate the U.S. labor movement during the 1892 Homestead lockout. The strike, which culminated in gunfight between workers, private security, and the city militia, remains the second largest strike in US history and is a harbinger of militarized labor movements.
Turpin further relates the events of these strikes to today, seeking parallels to contemporary resistance movements, and thereby reveals how Neoliberalism, the capitalist machine and the accompanying processes of urbanization erase these struggles from our cities, leaving behind only ambivalent monuments and an aesthetic characterized stainless, mechanical efficiency. Turpin ultimately reminds us of Walter Benjamin’s warning that “even the dead will not be safe from the enemy if he wins. And this enemy has not ceased to be victorious.”
__ Another Atlas
RAW: Gallery of Architecture and Design
290 McDermot Ave.
Winnipeg, Manitoba
rawgallery.ca
1 March - 1 April 2013
info@rawgallery.ca
Another Atlas builds on the work of Lize Mogel and Alexis Bhagat’s 2007 compendium of cartographic investigations into power, networks and social justice. The book and subsequent touring exhibition brought together work from artists, designers, geographers and activists all focusing on the role mapping has in our shared social structures. The different works lead to questions of; Who has the right to map? What do they have the right to map? How mapping changes our world. Each of the artists selected represent ways information can be gathered and how forms of mapping can be challenged.
Artists:
Etienne Turpin – Ann Arbor, USA
Simon Elvins – London, UK
Caroline Blaise – Montreal, Canada
Jeanette Johns – Montreal, Canada
Sotirios Kotoulas – Winnipeg, Canada
Lawrence Bird – Winnipeg, Canada
& selected pieces from the touring exhibit An Atlas for Radical Cartography
Accompanying the exhibition in RAW:Books will be copies of "An Atlas for Radical Cartography," "Space Out" by Sotirios Kotoulas and limited edition prints of "Stainlessness" by Etienne Turpin.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 1 of 31_900.jpg" width="670" height="446" width_o="720" height_o="480" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 1 of 31_900_o.jpg" data-mid="28024097" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 1 of 31_900_o.jpg" /> <img src="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 6 of 31_900.jpg" width="670" height="446" width_o="720" height_o="480" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 6 of 31_900_o.jpg" data-mid="28024103" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/ANOTHER_ATLAS_JCY_72DPI 6 of 31_900_o.jpg" />
Images courtesy of RAW gallery
__ Salt & Cedar Letterpress Gallery
2448 Riopelle Street, Eastern Market
Detroit, Michigan
5 May - 5 August, 2012
saltandcedar@gmail.com
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.19 PM.png" width="670" height="346" width_o="1525" height_o="789" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.19 PM_o.png" data-mid="17183749" border="0" align="left" data-title="670 — 670 × 346"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.19 PM_o.png" />Photographs of Salt & Cedar Gallery exhibition courtesy of John Hilmes
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.47 PM.png" width="670" height="299" width_o="1524" height_o="681" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.47 PM_o.png" data-mid="17183761" border="0" align="left" data-title="670 — 670 × 299"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.06.47 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.07.02 PM.png" width="670" height="298" width_o="1527" height_o="680" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.07.02 PM_o.png" data-mid="17183771" border="0" align="left" data-title="670 — 670 × 298"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-05 at 8.07.02 PM_o.png" />
__ 2011-2012 Fellows Exhibition
Taubman College Gallery, AAB,
University of Michigan
9 April - 20 April 2012
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.17.27 PM.png" width="670" height="389" width_o="1078" height_o="627" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.17.27 PM_o.png" data-mid="16386132" border="0" align="left" data-title="670 — 670 × 389"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.17.27 PM_o.png" /> Taubman College exhibition photography courtesy of Jesse Wetzel
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.54.35 PM.png" width="670" height="445" width_o="1282" height_o="853" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.54.35 PM_o.png" data-mid="16350147" border="0" align="left" data-title="670 — 670 × 445"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.54.35 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.15.46 PM.png" width="670" height="354" width_o="1281" height_o="677" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.15.46 PM_o.png" data-mid="16350717" border="0" align="left" data-title="670 — 670 × 354"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.15.46 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.18.16 PM.png" width="670" height="331" width_o="1073" height_o="531" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.18.16 PM_o.png" data-mid="16386092" border="0" align="left" data-title="670 — 670 × 331"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-13 at 10.18.16 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 9.07.44 PM.png" width="670" height="335" width_o="1035" height_o="518" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 9.07.44 PM_o.png" data-mid="22652466" border="0" align="left" data-title="670 — 670 × 335"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 9.07.44 PM_o.png" />
Fellowship Lecture
9 April 2012
A+A Theatre, AAB
University of Michigan
2011-2012 Fellows Lecture and Exhibition Opening from Taubman College on Vimeo.
The opening of the Fellows Exhibition included a lecture at Taubman College, University of Michigan, about the project. Stainlessness begins at 48 minutes, following William Muschenheim Fellow James Macgillivray's lecture Film to Wit: A Menagerie and Willard A. Oberdick Fellow Kyle Reynolds' lecture Symptomatic: Indexical Techniques for a Revitalized Cincinnati.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />> Print Production
Stainlessness HD thanks to Leander Johnson, from Vimeo.
In this short film, produced by Leander Johnson, we are in the process of printing the Detroit plate for the exhibition Stainlessness at the former S-R print shop in Detroit.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/ANEXACT_white_76.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/ANEXACT_white_76_o.png" data-mid="37788584" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/ANEXACT_white_76_o.png" />> About the Book
The artist monograph, designed by Sara Dean of Linch-pin.org, includes four ink-jet printed capriccios and the accompanying book text. It will be released by Autonomedia in 2014.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.43 PM.png" width="670" height="463" width_o="1208" height_o="835" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.43 PM_o.png" data-mid="17218446" border="0" align="left" data-title="670 — 670 × 463"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.43 PM_o.png" /> Book design and photography courtesy of Sara Dean / LinchPin Design
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.02.03 PM.png" width="670" height="448" width_o="1206" height_o="808" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.02.03 PM_o.png" data-mid="17218462" border="0" align="left" data-title="670 — 670 × 448"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.02.03 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.26 PM.png" width="670" height="417" width_o="1208" height_o="752" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.26 PM_o.png" data-mid="17218456" border="0" align="left" data-title="670 — 670 × 417"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-05-06 at 11.01.26 PM_o.png" />
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />> Background
Rival of the potent agents of the internal world, man undoes what nature has done. Nature has worked for centuries at agglomerating in the bowels of the earth oxides and metallic salts; and man, tearing them out of the earth, reduces them to native metals in the heat of his furnaces.
— Antonio Stoppani
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-24 at 8.59.37 PM.png" width="670" height="809" width_o="749" height_o="905" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-24 at 8.59.37 PM_o.png" data-mid="15673157" border="0" align="left" data-title="670 — 670 × 809"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-24 at 8.59.37 PM_o.png" /> Image of the Packard Plant under construction, courtesy of the Albert Kahn Collection,
Bentley Historical Library, University of Michigan
Our major cultural artefacts, or at least those endorsed by dominant culture, such as museums, monuments, statues and the like, suggest through their passive advocacy of stainlessness a paradoxical commitment to both permanence and progress. Not unlike their iron predecessors in the late-nineteenth century, whose Jugendstil organicism created the metallic imaginary that provided Charles Baudelaire with the title for his most well known collection of verse, Les Fleurs du Mal, the evils of our shiny, contemporary wish images remain obscure, not least because their capacity to reflect cultural values is necessarily distorted. Whether one is pacing the promenade leading to Frank Gehry’s Walt Disney Music Hall in Los Angeles, cautiously approaching Ned Kahn’s undulating kinetic façade that skins the Technorama Science Centre in Zurich, or finding one’s bearings among the gluttonous consumption of Michigan Avenue beneath Anish Kapoor’s Cloud Gate in Chicago’s Millennium Park, we witness how our current epoch reiterates a pernicious but pervasive value: metallic surfaces are synonymous with progress. The more polished, refined, expansive and contiguous these metallic surfaces, the greater the representational carrying capacity for our most lauded but least considered civilizational value—stainlessness.
What force compels this aesthetic of mineralization? How did our proliferation of stainlessness take place so rapidly, reaching an almost unthinkable ascendancy in its contemporary ubiquitous dispersion? Most importantly, what precedents within a materialist history of the Anthropocene could help orient our attempt to think the force of the human species, which has proven itself more than capable of antagonizing the vast scale of the earth through the mineralization of its surface? To answer these questions, we advance a tendentious history of architecture, extraction, and cultural memory as they persist in Sudbury, Chicago, Pittsburgh and Detroit.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.06.17 PM_32.png" width="603" height="908" width_o="603" height_o="908" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.06.17 PM_32_o.png" data-mid="16350439" border="0" align="left" data-title="670 (603) — 603 × 908"/><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.05.59 PM.png" width="603" height="904" width_o="603" height_o="904" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 8.05.59 PM_o.png" data-mid="16350432" border="0" align="left" data-title="670 (603) — 603 × 904"/>
Photographs courtesy of Catie Newell
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />> Material Production
To develop the prints for the exhibition, we worked with Captains of Industry who led the graphic production, Owosso Graphics to etch the plates, and with Megan O'Connell of Salt & Cedar (formerly S-R) to print the series.
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.04 PM.png" width="670" height="443" width_o="1292" height_o="855" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.04 PM_o.png" data-mid="16180650" border="0" align="left" data-title="670 — 670 × 443"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.04 PM_o.png" />
Printing press production photos courtesy of Catie Newell
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.14 PM.png" width="670" height="444" width_o="1291" height_o="856" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.14 PM_o.png" data-mid="16180655" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.14 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.48 PM.png" width="670" height="442" width_o="1291" height_o="853" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.48 PM_o.png" data-mid="16180667" border="0" align="left" data-title="670 — 670 × 442"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.48 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.58 PM.png" width="670" height="443" width_o="1292" height_o="856" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.58 PM_o.png" data-mid="16180669" border="0" align="left" data-title="670 — 670 × 443"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.58 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.06 PM.png" width="670" height="444" width_o="1290" height_o="855" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.06 PM_o.png" data-mid="16180674" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.06 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.18 PM.png" width="670" height="444" width_o="1292" height_o="858" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.18 PM_o.png" data-mid="16180679" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.18 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.33 PM.png" width="670" height="445" width_o="1289" height_o="857" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.33 PM_o.png" data-mid="16180686" border="0" align="left" data-title="670 — 670 × 445"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.33 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.45 PM.png" width="670" height="443" width_o="1290" height_o="854" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.45 PM_o.png" data-mid="16180692" border="0" align="left" data-title="670 — 670 × 443"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.45 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.35 PM.png" width="670" height="446" width_o="1364" height_o="909" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.35 PM_o.png" data-mid="16349974" border="0" align="left" data-title="670 — 670 × 446"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.35 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.53 PM.png" width="670" height="444" width_o="1369" height_o="908" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.53 PM_o.png" data-mid="16349980" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.48.53 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.49.32 PM.png" width="670" height="444" width_o="1361" height_o="903" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.49.32 PM_o.png" data-mid="16349986" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-12 at 7.49.32 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.26 PM.png" width="670" height="445" width_o="1289" height_o="857" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.26 PM_o.png" data-mid="16180659" border="0" align="left" data-title="670 — 670 × 445"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.26 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.38 PM.png" width="670" height="445" width_o="1291" height_o="858" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.38 PM_o.png" data-mid="16180664" border="0" align="left" data-title="670 — 670 × 445"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.34.38 PM_o.png" /><img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.59 PM.png" width="670" height="444" width_o="1291" height_o="856" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.59 PM_o.png" data-mid="16180699" border="0" align="left" data-title="670 — 670 × 444"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-04-08 at 6.35.59 PM_o.png" />
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />> Research & Production Team
Financial Support
Walter B. Sanders Fellowship (2011-2012)
A. Alfred Taubman College of Architecture and Urban Planning,
University of Michigan
Graphic Production
Amy Norris and Clint Langevin
of Captains of Industry
Research Assistants
Jessica Hester
Keith Peiffer
Lucas Bartosiewicz
Translation Research Assistant
Valeria Federighi
Research Support
Labadie Collection Curator Julie Herrada
& Reference Assistant Kate Hutchens
Special Collections Library,
University of Michigan
Assistant Reference Archivist Malgosia Myc
& Reference Assistant Diana Bachman
Bentley Historical Library,
University of Michigan
Librarian Rebecca Price,
Art, Architecture & Engineering Library,
University of Michigan
Photography
Catie Newell
& Lisa Hirmer
Video Production
Leander Johnson
Photoengraving
Owosso Graphic Arts, Inc.
Printing Press
Megan O’Connell
Signal-Return
Vandercook 325G Proof Press
Book Design
Sara Dean
Book Production
Leon Johnson,
Signal-Return
Exhibition Installation & Support
Aaron Willette
Catie Newell
Chuck Newell
John Hilmes
Special Thanks
Amy Kulper
Caroline Constant
Catie Newell
Claire Zimmerman
James Macgillivray
Jason Young
Kathy Velikov
Kyle Reynolds
Robert Fishman
Adam Bobbette
Alayna Munce
Brock Baker
DT Cochrane
Emily Stoddart
Heather Davis
Jacob Wren
Jane Hutton
Jane Wolff
John Paul Ricco
Lisa Hirmer
Lucas AJ Freeman
Paulo Tavares
Seth Denizen
McLain Clutter
Meredith Miller
Elizabeth Keslacy
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-28 at 1.16.16 PM.png" width="670" height="825" width_o="732" height_o="902" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-28 at 1.16.16 PM_o.png" data-mid="15804912" border="0" align="left" data-title="670 — 670 × 825"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/Screen Shot 2012-03-28 at 1.16.16 PM_o.png" />
Image courtesy of the Albert Kahn Collection of the Bentley Historical Library, University of Michigan
<img src="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2.png" width="670" height="2" width_o="854" height_o="3" src_o="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" data-mid="37911080" border="0" align="left" data-title="670 — 670 × 2"data-hi-res="http://payload8.cargocollective.com/1/5/180415/2477054/_ ANEXACT_white2_o.png" />>> Stainlessness I breathe the smell of steel in the world of the objects. - Clarice Lispector, Agua Viva The exhibition Stainlessness recuperates the...